Gallery hoppers, Spotify stalkers, bookworms, Letterboxd users and anyone who enjoys art, this is the place for you. Makes Ya Feel highlights art across all of its mediums, small and large-scale, that (you guessed it) makes ya feel!
March is usually a time of transition; spring slowly creeps in and as the days get longer, we finally begin to feel hopeful for the warmer days that lie ahead. But in Vermont, March often marks another month of winter, sometimes with a few surprising warm days (which are quickly followed by snowy, disillusioning ones).
During a lot of my free time this month, I found myself wanting to do nothing more than curl up and watch a movie. The 12 films I watched all vary across genres, time periods and overall content, but here are the three that stuck out and got me through this mercurial March.
“A Complete Unknown” — James Mangold
This 2024 musical drama is a portrait of Bob Dylan as he navigates the folk music scene in 1960s New York City. I watched this film while home for a weekend with my parents, who were excited to learn more about an artist that defined so much of their childhood.
I tend to be a bit more hesitant towards musician biopics, as they are usually poorly received because they alter real events at the expense of the lives of others. However, “A Complete Unknown” surprised me. It was fun to watch and never felt like its narrative was harmful towards the artists themselves or the people in their life. Maybe that’s because the film is not very plot heavy and instead depicts vignettes from parts of Dylan’s life. There is no overarching commentary about Dylan that is trying to be made, no attempts to “redeem him,” — he is depicted as a complex individual whose ambition sometimes disrupts his relationships.
Timothée Chalamet plays Dylan, and, though I was initially skeptical, he portrays the singer superbly. Every concert scene feels so intimate, and the love-triangle between Dylan, Joan Baez and Sylvie Russo creates memorable moments of tension and pain. The physical setting of 1960s New York City is its own character that reflects the political environment of the time and challenges the other characters to take a stand.
The film, with its engaging visuals and complex narrative, was just what I needed to start my March out on the right foot.
Bunny Lake is Missing — Otto Preminger
I watched “Bunny Lake is Missing” for one of my Film Theory class screenings, and that Monday night my classmates and I were gasping and shouting as the film unfolded. The film, which is shot completely in black and white, was released in 1975 and has been considered a “cult classic” ever since.
The film mainly explores the theme of unreliable narratives. When Bunny, a little girl from America, goes missing on her first day of school in London, her mother Ann and uncle Steven attempt to solve the mystery and find Bunny. During their search, law enforcement begin questioning if Bunny is even real or if she is instead a figment of Ann’s imagination. The film’s huge twist at the end is shocking, and puts into question the truthfulness of each individual character.
With its gloomy and complex shots, the film creates an environment that reflects the anguish of losing a child. As the film progresses, reality is blurred and it becomes difficult to trust anyone. But it’s impossible to look away, the film grabs you from the opening sequence and does not let you go until the end credits roll, making it such a compelling and memorable part of my March.
“Celine and Julie Go Boating” — Jacques Rivette
This 1974 comedic fantasy film follows magician Celine and librarian Julie and their adventures around Paris; they explore a haunted house, solve a murder mystery and find the joy in female friendship. The film is nonsensical at times, but this allows the story’s playful nature to shine through.
Celine and Julie first cross paths in a park in Paris and quickly become friends. Very little context is given as to who either woman is or what they are doing in the park, and instead, the film focuses on the friendship that develops and the liberation that emerges from their relationship.
Though the women differ greatly from one another — Julie is a bit more reserved and Celine is very eccentric and “out there” — they find joy within each other. Some of my favorite parts of the film were when there was nothing else happening but the two women laughing with each other. It felt so genuine, and in a film where reality is blurred, these moments were so grounding and special.
At a little over three hours long, the film is certainly a timely commitment. I split it up into three parts, watching about an hour at a time, and I found myself excited to return during my time apart from it. The Parisian summer days mixed with the whimsical adventures Celine and Julie embark on created a strong warmth that was impossible to look away from.
As the credits rolled and the snow outside my window continued to fall, I sat there smiling, thinking about all of Celine and Julie’s warmth and laughter. Maybe waiting for spring isn’t so bad after all.
Ellie Trinkle '26 (she/her) is the Senior Arts and Culture Editor.
She previously served as a News Editor and Staff Writer. She is a Film & Creative writing double major from Brooklyn who loves all things art. You can typically find her obsessively making Spotify playlists, wearing heaps of jewelry, or running frantically around campus.
